Johannes Brahms, Edith Mathis, Brigitte Fassbaender, Peter Schreier, Dietrich Fischer-Dieskau, Karl Engel, Wolfgang Sawallisch's 'Liebeslieder-Walzer, Op.52 - Verses From "Polydora": 1. Rede, Mädchen, allzu liebes' came out on January 1, 1983. With Liebeslieder-Walzer, Op.52 - Verses From "Polydora": 1. Rede, Mädchen, allzu liebes being less than two minutes long, at 1:19, we are fairly confident that this song is not explicit and is safe for all ages. Based on the duration of this song, this song duration is much smaller than the average song duration. The song is number 1 out of 36 in Brahms: Liebeslieder-Walzer by Johannes Brahms, Edith Mathis, Brigitte Fassbaender, Peter Schreier, Dietrich Fischer-Dieskau. In terms of popularity, Liebeslieder-Walzer, Op.52 - Verses From "Polydora": 1. Rede, Mädchen, allzu liebes is currently not that popular. In our opinion, the overall tone is not very danceable and projects negative sounds, such as being sad, depressed, or angry.
The tempo marking of Liebeslieder-Walzer, Op.52 - Verses From "Polydora": 1. Rede, Mädchen, allzu liebes by Johannes Brahms, Edith Mathis, Brigitte Fassbaender, Peter Schreier, Dietrich Fischer-Dieskau, Karl Engel, Wolfgang Sawallisch is Andante (at a walking pace), since this song has a tempo of 94 BPM. With that information, we can conclude that the song has a slow tempo. This song can go great with yoga or pilates. The time signature for this track is 4/4.
This song is in the music key of E Major. This also means that this song has a camelot key of 12B. So, the perfect camelot match for 12B would be either 12B or 1A. While, 1B can give you a low energy boost. For moderate energy boost, you would use 9B and a high energy boost can either be 2B or 7B. Though, if you want a low energy drop, you should looking for songs with either a camelot key of 12A or 11B will give you a low energy drop, 3B would be a moderate one, and 10B or 5B would be a high energy drop. Lastly, 9A allows you to change the mood.
Track | Artist | Key | Energy | Camelot | BPM | ||
---|---|---|---|---|---|---|---|
19 Polish Songs, Op. 74: No. 2. Wiosna | Frédéric Chopin, Olga Pasichnyk, Natalya Pasichnyk | F Major | 2 | 7B | 133 BPM | ||
Elijah, Op. 70, MWV A25: Part II: Siehe, der Huter Israels (Chorus) | Felix Mendelssohn, Luise Muller, Ruth Ziesak, Claudia Mahnke, Christoph Genz, Ralf Lukas, MDR Leipzig Radio Chorus, Leipzig MDR Symphony Orchestra, Jun Markl | D Major | 1 | 10B | 65 BPM | ||
Symphony No. 2 in B-Flat Major, Op. 52, MWV A 18 - "Hymn Of Praise": IV. "Sagt es, die ihr erlöset seid" | Felix Mendelssohn, Hans Peter Blochwitz, London Symphony Orchestra, Claudio Abbado | D♭ Major | 0 | 3B | 81 BPM | ||
Le nozze di Figaro / Act 1: "Non so più cosa son, cosa faccio" | Wolfgang Amadeus Mozart, Cecilia Bartoli, Vienna Chamber Orchestra, György Fischer | E♭ Major | 1 | 5B | 77 BPM | ||
Te Deum, WAB 45: 3. Aeterna fac | Anton Bruckner, Maria Stader, Sieglinde Wagner, Ernst Haefliger, Peter Lagger, Wolfgang Meyer, Berliner Philharmoniker, Eugen Jochum, Chor der Deutschen Oper Berlin, Walter Hagen-Groll | B♭ Major | 4 | 6B | 64 BPM | ||
Fünf Lieder: Ich Wandle Unter Blumen | Alma Mahler, Barbara Hannigan, Reinbert de Leeuw | F♯ Major | 0 | 2B | 75 BPM | ||
Tannhäuser / Act II: "Gar viel und schön" | Richard Wagner, Thomas Quasthoff, Orchester der Deutschen Oper Berlin, Christian Thielemann, Chor der Deutschen Oper Berlin | E Minor | 2 | 9A | 72 BPM | ||
Stabat Mater: 7. Eia Mater | Giovanni Battista Pergolesi, Lucia Valentini Terrani, London Symphony Orchestra, Claudio Abbado, Leslie Pearson | C Minor | 0 | 5A | 100 BPM | ||
Myrthen, Op. 25: 24. Du bist wie eine Blume | Robert Schumann, Dietrich Fischer-Dieskau, Christoph Eschenbach | F♯ Major | 0 | 2B | 131 BPM | ||
Ch'io mi scordi di te... Non temer, amato bene, K. 505 | Wolfgang Amadeus Mozart, Cecilia Bartoli, András Schiff, Vienna Chamber Orchestra, György Fischer | E♭ Major | 1 | 5B | 141 BPM |
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